Apple is currently holding their annual World-Wide Developer Conference in San Fancisco. As part of this, Apple has released a new version of the guidelines that developers have to follow to submit apps to their various app stores.
These text of these guidelines are available on Apple’s developer website. But it also is available as a comic book, by Motion Books, a motion comic company with apps on various platforms.
If you want the comic, you can find a link to the PDF here. However, I’d advise against wasting the bandwidth on downloading it.
This “comic” is pointless. It’s merely superimposing the App Store guidelines over visuals that have nothing to do with the App Store, or anything in the common with the text at all. It’s comic art that may actually be used elsewhere in the service of an actual story somewhere else in the world, as each section of the guidlines is in a different art style and story genre (none of which are non-fiction).
Compare with Google’s 2008 comic that introduced the Chrome web browser to the world, and the technologies within. It was a good book that illustrated the concepts behind the Chrome browser, written and drawn by Scott McCloud, well known in the comics world for his other non-fiction comics on understanding the visual grammar and structure of comic books, most notably “Understanding Comics”.
The App Review Guidlines comic is a pointless non-sequitur that does nothing to improve understanding or knowledge of the App Store Review guidelines over the text itself.
It’s like listening to the legal disclaimers for a drug ad while an action movie scene plays on screen. Two things that have nothing to do with one another.
Since it was created by Motion Books, a motion comic company with apps on various platforms, I imagine it was meant as a means of promoting themselves. They failed in my eyes as this shows them to have no creativity or communication skills at all, if this comic is any indication.
It’s insulting to the audience, and to those who have actually produced real non-fiction comics. I’m stunned that Apple agreed to put it on their developer site.
Asked about the big culture-war issue of the moment, public restroom access for trans individuals, Trump said he thinks North Carolina should have left things alone. “North Carolina did something that was very strong, and they’re paying a big price,” said Trump. But if it was up to him, he would “leave [bathroom access] the way it is! There have been very few problems. There have been very few complaints the way it is. People go, they use the bathroom that they feel is appropriate, there has been so little trouble.”
Yeah, both sides have been making WAY too much over this “issue”. I suspect there are culture war profiteers on both sides trying to stir this up.
In case you are wondering what I meant by “culture war profiteer,” in the previous post, I refer you to Todd Seavy at Splice Today
The anarchist law professor Butler Shaffer, a friend of mine, quietly takes the very radical yet reasonable view that most institutions, no matter what their initial purpose was (stopping online harassers, spreading the word about Jesus, what have you) end up, through a simple evolutionary filtering process, having the same de facto mission in the end: self-perpetuation. Think about that for a few minutes and then become very skeptical if you weren’t already.
That tendency toward the self-serving is worth keeping in mind the next time you find yourself asking, as decent, naïve folk naturally do, why on Earth would campus anti-racism activists secretly scrawl racist graffiti? Why would a leftist gay person fake receiving an anti-gay cake? Darwin used to be popular on the left before the feminists took a dislike to him, and he knew the name of the game is usually self-preservation. Adaptive camouflage is just one tactic.
The article is primarily about a feminist posing as an anti-feminist online to gain sympathy and support for herself, and to hurt her rival feminists.
Bonus points for the post’s sub-heading, “SHIELD is Hydra. Hydra is SHIELD.”
In every presidential election I’ve voted in (every one since 1992), I’ve had only one surefire prediction that holds up almost every time: Anything can happen, and damn near everything will happen.
It’s usually a safe bet. Some races get so weird that I declare them races where anything can happen, and everything (no matter how implausible) will happen.
1992 was one such race, with Ross Perot becoming a credible candidate, dropping out mid-race, and dropping back in not too long afterwards.
2000 only mildly weird… until election day itself. Nothing like a looming constitutional crisis to spice up a dull election season.
2016 is already a weird one, and we haven’t even gotten a single ballot cast yet, much less even arrived in the year 2016 itself!
It could be so weird that the likely Libertarian nominee could run as the “normal” candidate, as observed by Todd Seavey at Splice Today:
I mean, if the Republicans end up offering someone as odd as Trump or Carson, and the Democrats offer a criminal such as Clinton or a socialist such as Sanders… couldn’t Johnson plausibly just run as the non-weird candidate for whom America has been waiting?
Johnson, after all, is a successful, smart, and respected former two-term governor of New Mexico, elected and re-elected as a Republican even in a majority-Democrat state. He never raised taxes even when building new highways, shrank the budget, vetoed more legislation (from both parties) than any other governor, created more jobs than Rick Perry’s Texas despite occasional claims to the contrary, and let the state government workforce shrink through attrition as workers retired—probably the least-painful way to deal with public-sector bloat.
Why, you might ask, can Shkreli price his drug so high and not fear that a generic competitor will undercut him? After all, the daraprim no longer has patent protection.
The answer: Turing Pharmaceuticals has a de facto monopoly, courtesy of the ever-increasing costs of gaining FDA approval, both for new drugs (over $1 billion and 11 years) and generics. Any generic company could make daraprim; its patent expired decades ago.
The $750 pill might be considered an example of “corporate greed.” However, Turing probably wouldn’t have even attempted such a price hike without high cost of FDA-mandated drug development, both new and generic, which virtually eliminated his competition.
Over the span of three days, I consumed the entirety of Netflix’s first contribution to the Marvel Cinematic Universe, Daredevil.
Welcome to the darker, edgier, more realistic(-ish) corner of the MCU. It’s no less awesome than the rest of it.
It ties into the main Marvel Cinematic Universe only in so far as one of the premises is that the Hell’s Kitchen neighborhood of New York City is one of the neighborhoods that got hit pretty hard by the alien invasion in the Avengers movie. (Which may account for why the Kitchen is a bad neigborhood in the MCU despite it having been gentrified in the real world decades ago.) The construction companies involved in the reconstruction over the past several years have ties to criminal activitiy.
In case you are unfamiliar with Daredevil here’s a rundown of the premise: Matt Murdock (played by Charlie Cox) is a lawyer by day, and by night is a masked vigilante, eventually named Daredevil. The twist, Matt is blind, but he can fight in his masked persona as if he was sighted (or better) given his other senses that have become superhumanly strong. His main nemesis is the new secret crime boss of New York City, Wilson Fisk (played by Vincent D’Onofrio).
I’m of two minds on how much they embraced ability to go more “adult” I don’t mind it being darker, dangerous, and with a bit of a body count. But at times it went too heavily into explicit violence, almost Tarantino-esque. So much that few negative reviews called it “blood porn”. Episode 3 was the worst offender here, and though it could have been worse, it was pretty hardcore.
At its best, the violence was shown to have consequenses. The beatings Matt takes carry over from episode to episode, requiring lots of medical attention from an unlikely ally in the form of an ER nurse during her off-hours treating him in secret (played by Rosario Dawson). The wounds and torn flesh are shown onscreen when being treated, which must have been a masterwork in effects makeup.
Further consequese is that to the soul of Matt himself. How far outside the law is he willing to go is one that Matt wrestles with throughout the series, especially as it becomes increasingly apparent that the bad guys have too much an edge in terms of control of what should be institutions of law and order through bribed and threatened cops, lawyers, and media.
Between the blood and explicit language (Certainly R rated quality language) this is clearly not for kids. But I think it goes a little too far in distancing itself from the tone of the rest of the Marvel movies and TV shows. With its levels of violence and language it is more like HBO’s Sopranos (though not quite so frequent with the cursing, and no nudity or sexual activitiy, save for a brief tease of nudity in the first episode.), when it ought to have reigned it in to more of a basic cable level, ala Breaking Bad.
Still, I wouldn’t say that the MCU shouldn’t have darker corners, meant for more mature audiences. It’s just that with the connection to PG rated material, it would have helped to keep it a bit more accessable.
It’s said that any hero is only as good as it’s villain. And D’Onofrio delivers a great performance as Wilson Fisk. It’s notable that through the first two episodes (and most of the third) Fisk isn’t even mentioned by name. He’s refered to only tangentially, but clearly the top man in the criminal world, and one to be feared.
But once his is introduced onscreen its in the context of him wooing a woman, Vanessa. His relationship with her and his freindship with his right hand man, Wesley, are strong, positive relationships. This is not some cardboard cutout one dimensional villain. He has ambitions and dreams that are laudable. But his criminal means, dark secrets, and occasional brutal nature have clearly cast his path as one of evil. Just as Matt goes through his own crisises, we see Fisk deal with his own.
The closing fight scene of episode two has been praised up one way and down the other as an incredible one-shot scene (with some opportunity for cheats as the camera reverses direction) set in a hallway. It tells a story of endurance, determination, and heroics like no fight scene in the history of super-hero adaptations. Even if you don’t watch the entire series, episodes one and two are must see. Do not stop at just the first episode and give both a try.
I find that at it’s best, the vigilate aspect of the super-hero genre is an exercise in personal ethics, and Daredevil has embraced that. Matt and Fisk’s personal journeys show the consequenses of the choices on each other, and their personal relationships, as well as how those personal relationships affect their own choices. It’s this thread that ties the whole season together, and makes for compelling viewing.
Netflix has lined up four more series for the Marvel Cinematic Universe, A.K.A. Jessica Jones, Luke Cage, Iron Fist, which will tie in to Daredevil and each other to some degree, leading ultimately to “The Defenders” a team-up series featuring all four characters. One hopes that there will be further seasons of Daredevil on top of this, but based on the example here, I’m a least looking forward to the rest of Netflix’s Marvel offerings.
Apparently the Internet needs to be “saved” from the guys who made it cheap, ubiquitous and pretty darn free (free as in free speech, not as in free beer). Who’s doing the saving? The gang that historically has always, every time, without exception made anything and everything it touches more expensive, less reliable and less friendly to freedom of expression.